Research On The Court Drama Of Subduing Demons In The Qing Dynasty

In this paper,the court demon-fighting drama of the Qing Dynasty is taken as the research object,specifically studying the background of the generation,its existence and loss,text,performance and other situations of the court demon-fighting drama of the Qing Dynasty,and then examining the interaction between the text and performance of the court demon-fighting drama of the Qing Dynasty and the folk demon-fighting drama.The first chapter,the concept of the Qing Dynasty court demon-fighting drama and its background research.This chapter first clarifies the connotation and extension of demon-fighting drama,and distinguishes the concepts of"supernatural drama"related to it.Secondly,the development of demon-fighting drama before the Qing Dynasty is sorted out.There were many demon-fighting plots in operas of Song and Yuan Dynasties,but there was no demon-fighting drama with complete narrative.Yuan zaju(??)demon-fighting drama was the initial stage of the development of ancient demon-fighting drama.Although the number of works was not large,the plot pattern with demon-fighting as the main line had already taken shape.Demon-fighting plays in Ming dynasty were the key period for the development of demon-fighting plays in ancient times.Both in quantity and content,demon-fighting plays in this period were far superior to those in previous dynasties,and laid a foundation for the prosperity of demon-fighting plays in the Qing court.The second chapter is about the background of demon-fighting drama in the Qing Dynasty and the existence and loss of the drama.Politically,in order to regulate and educate the people,the rulers of the Qing Dynasty promoted the demon-surmounting theme,and the grand and bizarre scenes of demon-surmounting drama satisfied the rulers' need to show their national strength.Culturally,the emergence of a large number of gods and demons novels in the Ming Dynasty provided the textual basis for the demon-fighting drama in the Qing court,and the consciousness of the singers of the Ming Dynasty to regulate the music score also had an impact on the Qing court.Then the existence and inventory of the Qing Dynasty court demon-fighting drama were investigated.From a macroscopic point of view,the number and frequency of demon-fighting plays in the Qing court increased year by year.Kunyi dialect plays occupy the mainstream,Luantang plays come from behind.The third chapter,the text research of the Qing Dynasty court demon-fighting drama.This chapter first investigates the main text sources of the demon-fighting drama in the Qing court.The drama of demon-fighting in the Qing Dynasty inherits and develops from the novels of gods and demons in the Ming Dynasty,the operas of the previous dynasties and the drama of demon-fighting in the Qing Dynasty.Secondly,the plot mode of the court demon-fighting drama in the Qing Dynasty is summarized and concluded,which can be divided into prototype plot mode,unit plot mode and deformation plot mode.In addition,the author investigates its character setting,image building and the type of roles,and finds that the plot mode of the Qing dynasty court demon-fighting drama integrates other types and strives for innovation.The means of character shaping are also more abundant,but they fail to reverse the rigidity of the basic mode of the court demon-fighting drama.The fourth chapter is the study of the performance of demon-fighting drama in the Qing Dynasty.This chapter first specifically studies the stage of demon-fighting drama performance,and explores the combination of the text of demon-fighting drama and the palace stage,mechanism and props in the Qing Dynasty.Then it concludes that the characters of the gods and demons in the palace demon-fighting drama in the Qing Dynasty show the characteristics of individualization and formal beauty.Finally,it investigates the situation of the scene dispatching in the palace demonfighting drama in the Qing Dynasty.The fifth chapter,the interaction between the drama and the folk in the Qing Dynasty.This chapter mainly by folk artists activities both inside and outside the palace as a breakthrough point,from the angles of scripts and drop the magic of clear acting palace drama and folk interactive situation,found that not only reduced the magic of clear acting palace play in popular time,popular show,similarity and folk drama script text is extremely high,on the performances and stage techniques also from each other.